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Specific Techniques

The pieces are sewn together with an overcast stitch.

Iconographic Meaning

White bands on lower arms indicate women’s use of fore arms in scraping skins and sewing. Ears and white tuft on back, indicating caribou tail, stress resemblance to animals and transfer their qualities to humans. The rectangular front flap can be read as a phallic symbol referring to procreation and regeneration of human life. Clusters of narrow fringes along the hem were replaced each spring in anticipation of the return of the caribou.

Description

Women’s outer coat, or parka, of brown caribou fur. The coat has a large elongated hood and very broad angular shoulders. The coat is waist length and has a long rectangular back tail and a small narrow rectangular front flap. The hemline, hood opening and front of sleeves are trimmed with white fur. On the forearms of the sleeves two white bands of fur are inserted. On the back two narrow triangular pieces of white fur and a tiny tuft of white fur are inserted. To the top of the back four caribou ears are attached with two white tassels of fur hanging from the ear tips. A paired tassel of white fur is attached to the right shoulder on the front. Paired narrow fringes are hanging from the back of the hood and along the hemline. The back of the coat is enlarged through the insertion of an extra piece of fur. To the rim of the hood a white label and a metal button are attached.

History Of Use

This style coat was worn by women until the 1920’s. The absence of angular white chest panels might indicate that the wearer had not yet reached adulthood. The back of the coat is enlarged so that a women could carry an infant in there. A belt would prevent the child from falling out. The large hood provided more air and space for the child. A narrow depilated tape of caribou skin is sewn on the inside of the hem to prevent it from rolling up. The insulating capability of animal skins is enhanced by the practice of wearing two layers of skin clothing, especially in winter. One layer of clothing is worn with the fur on the inside and a second layer is worn with the fur on the outside, so as to minimize ingress of wind and cold. During winter men and women wear two hooded waist-length coats, two pairs of trousers, two pairs of stockings and boots, and mittens. While mass-produced clothing from the south is now commonly worn, the making of skin clothing was being revived. In the Arctic, the making of clothing is considered as important as the creation of sacred objects. Aside from its important function as protection against the cold, clothing is imbued with power and spirituality. Women as seamstresses play an extremely important role in the expression of cultural value and meaning. The clothing of each group is cut and decorated according to distinctive cultural aesthetics. In addition to expressing the group’s identity, makers express the beliefs and values of the group through clothing, which marks social identities like gender, age, childbearing status, and geographical origin. Clothing also expresses the special relationship of people with the animal world. People, animals, and spirits are subject to metamorphosis; clothing often refers to this ability to transform, and could effect such a metamorphosis.

Narrative

Pierce donated this collection to the UBC Geology Museum in 1932, from which it transferred to the newly-opened Museum of Anthropology in 1948. Michell Pierce put together this collection of examples of Copper Inuit clothing and implements, while working in the area for the Hudson’s Bay Company. Before going to the area, he interviewed Dean Brock and M.Y. Williams about the possibility of collecting for UBC while there. This was the second collection he assembled, as the first was lost when the ship carrying the materials was caught in the ice.